Bøger i Ashgate Popular and Folk Music Series serien

Represents the comparative study of the folk revival movement in Anglophone Canada and the United States, and combines this with discussion of the way folk music intersected with, and was structured by, conceptions of national affinity and national identity.

Explores specific historical moments in British jazz history and places special emphasis upon issues of race, nation, and class. This title examines the ways in which jazz, an African American music form, has been absorbed and translated within Britain's social, political, and musical landscapes.

Traces the development of government attitudes and policies towards popular music. This book examines the development of policy under New Labour; numerous reports which have charted the economics of the industry; and the Deal for Musicians scheme and the impact of devolution on music policy in Scotland.

Examines the issues of gender and emotion that underpin the classical style of film scoring. This book considers the effects of this association by progress through three stages: cultural-historical precedents, the generic parameters of melodrama and the woman's film, and the narrativization of music in film through diegetic performance.

Examines Veloso's musical and vocal styles, revealing the ways in which they play with traditional expectations between the performer and listener, and argues that they represent an important response to the severe censorship and repression of the military regime.

Why do musicians and music analysts deny that music is irreducibly social, or at least behave as if it isn't? The answer is itself socially specific. These writings examine the interaction between French popular music and French society, identity and culture.

Presents a discussion of the key issues relating to globalization. The contributors are concerned that local and regional music cultures face an unprecedented onslaught from transnational industries and their ever-increasing production of cultural goods for global distribution.

Presents an evaluation of the rules that define heavy metal as a musical genre. This book investigates why, during the late 1960s and early 1970s, Birmingham provided the ideal location for the early development of heavy metal and hard rock. It considers how the influence of the London and Liverpool music scenes merged with the cultural climate.

Fado, often described as 'urban folk music' emerged from the streets of Lisbon in the mid-nineteenth century and went on to become Portugal's 'national' music during the twentieth. This title considers the ways in which fado songs bear witness to the city of Lisbon, in relation to the construction and maintenance of the local.

Focuses on Jews as a racialized group in the popular music of America, Britain and Australia during the twentieth and early twenty-first centuries. This book explores race as a cultural construction and continues discussions undertaken in Jewish Studies concerning the racialization of the Jews and the stereotyping of Jews.

Argues for a re-assessment of guitar studies in the wake of musical, cultural and technological developments that have taken place around the instrument. This title presents guitar as an instrument of scientific investigation and part of the technology of globalization, created and disseminated through corporate culture and cottage industry.

At times it appears that a whole industry exists to perpetuate the myth of origin of the Beatles. This book tells the history of the disparate and now partially hidden musical strands that contributed to Liverpool's musical countenance. It is also a critique of Beatles-related institutionalized popular music mythology.

There are undercurrents and peripheral taste preferences that are a defining part of our individual and collective cultural experience. Music is no exception. This book adapts the 'A-side/B-side' dichotomy from the 45 r p m for use as a conceptual, historical, and cultural framework for threading together popular music and media texts.

Traces the evolution of 'protest' music in France since 1981, exploring the contradictions that emerge when artists who take their musical production and political commitment 'seriously', cross over to the mainstream, becoming profitable and consensual.

Presents two inter-related cases of crisis and opportunity - the music industry's struggle over piracy and the 'Idol' phenomenon. This book shows how multiple sites of consumption, and attempts to mediate and control the circulation of popular music are used to combat the foundational challenges facing the music industry.

Examines how and why Musica Popular Brasileira (MPB) has come to have such a high status, and why the musical tradition (including MPB) within Brazil has been defended with such vigour for so long. This title emphasizes the importance of musical nationalism as an underlying ideology to discussions about Brazilian popular music since the 1920s.

Explores the symptomatic reflections of canonical values, terms and mechanisms from the canons of literature and classical music in the reception of rock music. This book examines the concept of the canon as theorized by scholars in the fields of literary criticism and musicology.

For female pop stars, whose star bodies and star performances are undisputedly the objects of a sexualized external gaze, the process of ageing in public poses particular challenges. This title focuses on British and Latina women performers and ageing. It investigates the cultural work performed by artists such as Madonna, Celia Cruz, and more.

Susan Motherway illustrates the transformative impact of globalization on Irish traditional song performance by examining the ways in which performers mediate the divide between local and global markets. The book portrays patterns of musical change extant within the tradition as a result of globalization.

To date there has been a significant gap in existing knowledge about the social history of music in Britain from 1950 to the present day. The three volumes of The History of Live Music in Britain address this gap and do so from the unique perspective of the music promoter. The books offer new insights into a variety of issues.

Seeking to extend discussions of 9/11 music beyond the acts typically associated with the September 11th attacks - U2, Toby Keith, The Dixie Chicks, Bruce Springsteen - this title interrogates the politics of a variety of post-9/11 music scenes.

Grunge has been perceived as the music that defined 'Generation X'. This book explores how grunge has been remembered by the fans that grew up with it, and asks how memory is both formed by and forms popular culture. It demonstrates how different groups can use and shape memory as part of a struggle for power in society.

Explains how the definitive British rock performers of this epoch aimed, not at the youthful rebellion for which they are legendary, but at a highly self-conscious project of commenting on the business in which they were engaged. This work focuses on the mid to late 1960s.

This volume brings together original studies from international scholars to identify and evaluate the productive dimensions of Idols. As one of the world's most successful television formats, Idols offers a unique case for the study of cultural globalization.

Exploring specific European filmic texts, composers, and approaches to film scoring, this book includes an analysis of Italian neo-realist cinema, Ealing Comedies, experimental music in Spanish scoring, the invocation of traditional music, the portrayal of classical music performers, the use of space, and silence and manipulation of time.

A song tradition that goes back to the Middle Ages and troubadours of the 12th and 13th centuries, chanson is part of the texture of everyday life in France - a part of the national identity and a barometer of popular taste. This study examines the background and development of the genre.

Explores the efforts of the government in southern Spain to establish flamenco music as a significant patrimonial symbol and marker of cultural identity. Further, this title aims to show that these Andalusian efforts form part of the ambitious project of rethinking the nation-state of Spain, and of reconsidering the nature of national identity.

Identifies links between the anti-psychiatry movement and representations of madness in popular music of the 1960s and 1970s, analysing the various ways in which ideas critical of institutional psychiatry are embodied both verbally and musically in specific songs by David Bowie, Lou Reed, Pink Floyd, Alice Cooper, the Beatles, and Elton John.